Fifth Ave. at 82nd St. (212-535-7710)—“J. M. W. Turner.” Through Sept. 21. | “Art of the Royal Court: Treasures in Pietre Dure from the Palaces of Europe.” Through Sept. 21. | “Superheroes: Fashion and Fantasy.” Through Sept. 1. | “Framing a Century: Master Photographs, 1840-1940.” Through Sept. 1. | “Jeff Koons on the Roof.” Through Oct. 26. | “Early Buddhist Manuscript Painting: The Palm-Leaf Tradition.” Through March 22. (Open Tuesdays through Sundays, 9:30 to 5:30, and Friday and Saturday evenings until 9.)

MUSEUM OF MODERN ART

11 W. 53rd St. (212-708-9400)—“Dalí: Painting and Film.” Through Sept. 15. | From a house in a box, sent to Australia with British émigrés in the eighteen-thirties, to a digitally fabricated cottage, engineered at M.I.T. for New Orleans, many of the projects in “Home Delivery: Fabricating the Modern Dwelling” were designed with function in mind. But there are unrealized fantasias, too—take Archigram’s hive-like “Plug-In City (1962-64).” Five full-size units by contemporary architects are installed in an outdoor lot adjacent to the museum, while indoors—in addition to plans, drawings, photographs, and models by the likes of Breuer, Fuller, and Wright—there is a film short by Buster Keaton, in which the Great Stone Face does his best to assemble a portable love nest for his bride. Through Oct. 20. | “Pipe, Glass, Bottle of Rum: The Art of Appropriation.” Through Nov. 10. | “Kirchner and the Berlin Street.” Through Nov. 10. | “Looking at Music.” Through Dec. 31. (Open Wednesdays through Mondays, 10:30 to 5:30, and Friday evenings until 8.)

GUGGENHEIM MUSEUM

Fifth Ave. at 89th St. (212-423-3500)—“Louise Bourgeois.” Through Sept. 28. | “Imageless: The Scientific Study and Experimental Treatment of an Ad Reinhardt Black Painting.” For the last ten years of his career, Reinhardt (1913-1967), the reluctant father of minimalism, devoted himself to canvases painted in barely discernible shades of black. Along with this stark reduction came an obsession with technique. Reinhardt’s matte, powderlike surface was designed to achieve an effect he described as “formless, directionless, pure, transcendental, timeless.” So what happens when that surface is marred and then over-painted in an attempt at restoration? One such result is displayed here as a “study painting.” A behind-the-scenes video shows conservators, scientists, curators, and artists (including Robert Ryman) puzzling over the specimen. For Reinhardt purists, the four pristine black paintings displayed in an adjoining room are the show’s greatest reward. Through Sept. 14. (Open Saturdays through Wednesdays, 10 to 5:45, and Fridays, 10 to 7:45.)

Fifth Ave. at 91st St. (212-849-8300)—“House Proud: Nineteenth Century Watercolor Interiors from the Thaw Collection.” Through Jan. 25. (Open Mondays through Thursdays, 10 to 5, Fridays, 10 to 9, Saturdays, 10 to 6, and Sundays, noon to 6.)

FRICK COLLECTION

1 E. 70th St. (212-288-0700)—Between 1901 and 1919, Henry Clay Frick spent more than half a million dollars on three paintings by Vermeer. It was a fortune, of course, but it seems like a song when the panels are seen side by side—as they have not been in nearly a decade. “Frick’s Vermeers Reunited” displays the intimate masterworks without fanfare, letting “Girl Interrupted at Her Music,” “Officer and Laughing Girl,” and “Mistress and Maid” speak for themselves. Brilliant sun catches the window mullions, the feather on the officer’s debonair hat, and the edge of the laughing girl’s kerchief. The mistress’s pearls glint, but as a texture distinct from the white fur trimming her jacket. The young musician looks demure, but her garment glows red—and the interrupter leans close. Through Nov. 2. (Open Tuesdays through Saturdays, 10 to 6, and Sundays, 11 to 5.)

MUSEUM OF BIBLICAL ART

Broadway at 61st St. (212-408-1500)—The great German artist Albrecht Dürer travelled to Italy in 1494 and returned a year later to Nürnberg inspired by the works of his southern contemporaries and the ancient sculptures he saw there. (A second yearlong visit, in 1505, was just as fruitful.) “Art in Transition” tracks Dürer’s post-Italy development in prints, his strongest medium. Along with the predictable greatest hits—the engravings “Adam and Eve,” “Melancholia,” and “The Knight, Death, and the Devil,” as well as the woodcuts “The Four Horsemen of the Apocalypse” and “The Rhinoceros”—are oddball devotional works and an extraordinary, multi-panel woodcut portraying Emperor Maximilian I riding in a triumphal chariot. Like the Met’s 2003 show of Leonardo da Vinci drawings (but distinctly off the tourist route), this is mandatory viewing for lovers of master printing and draftsmanship. Through Sept. 21. (Open Tuesdays through Sundays, 10 to 6, and Thursday evenings until 8.)

NEW MUSEUM

235 Bowery, at Prince St. (212-219-1222)—“After Nature.” Through Sept. 21. (Open Wednesdays and weekends, noon to 6, and Thursdays and Fridays, noon to 10.)

This show of photographs ends its tour of European and American museums shoehorned into the gallery that organized it, but Kahlo’s witchy allure is irresistible in any space. Although the exhibition’s larger theme is only lightly sketched in—through portraits of and works by Diego Rivera, Manuel and Lola Álvarez Bravo, Tina Modotti, and others in Kahlo’s circle—it is the artist herself who best embodies the renaissance. A marvel of near-maniacal self-invention, she was a magnet for photographers, including Carl Van Vechten, Leo Matiz, Imogen Cunningham, and Nickolas Muray. Few of them got past her folkloric façade, but they all contributed to the making of an icon. Through Sept. 14. (Throckmorton, 145 E. 57th St. 212-223-1059.)

“ORIGINAL BOOKS”

The booming market for photography books has prompted several shows of late, and this one focusses on five titles by artists who deserve to be better known. All published since 1990 and primarily black-and-white, the books put a smart conceptual twist on traditional photography. Jens Liebchen’s images of Tirana, Albania, would appear to describe a war-torn city, but the conflict has long since abated. Keizo Kitajima’s project “A.D. 1991” took him to a number of European cities, where he photographed the citizens and their environment; only his street portraits are here, and they’re strong enough to recall both Walker Evans and Michael Schmidt. Through Sept. 6. (Cohen Amador, 41 E. 57th St. 212-759-6740.)

GALLERIES—CHELSEA

“THE GOOD LIFE”

The show’s title implies the sort of leisure that only the wealthy enjoy, and a number of photographers here (Tina Barney, Daniela Rossell, and Martin Parr among them) make class their subject. But many more see the good life as something that everyone—from Bill Owens’s sloshed suburbanites at their backyard grill to Massimo Vitali’s sunbathers at the beach—can have. The revellers in Tod Papageorge’s shot of Studio 54 on New Year’s Eve may be having more fun than Larry Sultan’s parents reading in bed, but don’t bet on it. Through Aug. 22. (Richardson, 535 W. 22nd St. 646-230-9610.)

“A RICTUS GRIN”

Expressions devoid of emotional content—like the eerie fixed grin on a corpse or the insincere smile of a glib politician—inspired this intriguing sleeper of a show, curated by Christopher Eamon and Anke Kempkes. A cynical world view predominates, as seen in Öyvind Fahlström’s delightfully unsettling 1966 film, in which bystanders watch fake demonstrators parading by with posters of Bob Hope and Chairman Mao. But some works break ranks. Duncan Campbell’s Godardesque video portrait of the feisty, cigarette-wielding Irish activist Bernadette Devlin, who was elected to parliament in 1970, at the tender age of twenty-one, is surprisingly poignant. Through Sept. 6. (Broadway 1602 Gallery, 1182 Broadway, at 28th St. 212-481-0362.)